The oratorio in France had a slow beginning and has throughout its development displayed traits distinctly traceable to two sources, the first of which is the national fondness for theatrical settings for all dramatic works. Even _La nativité_ by Gossec (1734-1829) probably gained wide attention when given at the Tuileries Cathedral, because the composer had a chorus of angels concealed in the dome, thereby giving a more picturesquely dramatic effect. Concert-oratorio, in which the sources of enjoyment are largely limited to pure choral effects, divorced from dramatic content, has never made a wide appeal in France. The second source of the characteristics of French oratorio is to be found in the influence which the liturgy of the Roman Church has exercised over this art-form. French oratorio has preserved a close connection with the old Gallican liturgic drama of the Middle Ages--so much so that the word ‘mystery’ has almost entirely superseded ‘oratorio’ as a title or sub-title for this form of composition. Its line of descent from the mediæval mysteries is still further identified in the subject-matter itself, which usually concerns itself with the mysteries of Christian faith and church doctrine. The titles most frequently subjoined by the composers are ‘sacred drama,’ ‘biblical scene,’ etc., rather than ‘oratorio.’ Here lies the distinct line of demarcation between oratorio from the Protestant and Roman Catholic points of view. The first of the French composers to write a series of oratorios[80] was François Lesueur (1760-1837) and the strongest of these is his ‘Christmas Oratorio’ written in 1826, which is a combination of drama and churchly office. Lesueur was of the opinion that ecclesiastical music must of necessity be liturgical and therefore based on the Gregorian chant and accent. This work is really an adaptation of the Christmas Mass treated as an oratorio-text, the parts of which are distributed as solos, choruses and ensemble passages among the persons assembled around the manger. Most of these lightly scored passages are built upon old liturgical melodies or upon old French Christmas songs, and the harp is very lavishly used in the instrumentation. The text is in Latin, taken from the Vulgate. After the _Kyrie_, accompanied by string quartet, there follows the appearance of the angels, closing with a short instrumental coda. After this comes a _Gloria in excelsis_ and a pastoral instrumental passage (Shepherds on the Fields of Bethlehem) scored for violas and horns. Two holy women sing as a duet the _Gratias agimus tibi_ and the closing number consists of a pastoral hymn to the words, _Jam desinant suspiria_.